Depuis une dizaine d’années, on assiste à une sensibilisation grandissante à l’égard des caractéristiques et des besoins des élèves doués. Étant donné le faible nombre de recherches empiriques sur le sujet, on en sait actuellement très peu sur le vécu scolaire des jeunes doués québécois et sur ce qu’on peut faire pour les aider à atteindre leur plein potentiel. Cette recherche a pour objectif de mieux comprendre la perception d’adolescents doués québécois quant à leur vécu scolaire, plus particulièrement de (1) décrire le vécu scolaire d’adolescents doués québécois et de (2) mieux comprendre les facteurs qui influencent positivement ou négativement leur vécu scolaire. Cette recherche descriptive interprétative est basée sur des entretiens non directifs effectués auprès de huit adolescents âgés de 12 à 18 ans qui ont préalablement reçu une évaluation de douance et qui ont passé plusieurs années dans le système scolaire québécois. Les résultats indiquent que le vécu scolaire des jeunes doués est constitué de neuf dimensions : (1) la relation avec les enseignants, (2) le rapport aux pairs, (3) les résultats scolaires, (4) les difficultés vécues à l’école, (5) les troubles associés, (6) les mesures d’adaptation et de flexibilité, (7) les habiletés, (8) les programmes particuliers et (9) les déménagements et changements d’école. Les facteurs ayant un impact positif sur le vécu scolaire des participants incluent l’évaluation de douance, les mesures d’adaptation, la médication reliée à un trouble associé, les enseignants, les programmes particuliers et la prise en compte des intérêts de l’élève. À l’inverse, la fermeture à leurs besoins d’apprentissage, le jugement des pairs et des enseignants, l’ennui, la répétition et l’isolement laissent une trace négative sur leur vécu scolaire. Les résultats obtenus dans cette recherche, bien qu’insuffisants pour dresser un portrait complet de la réalité des jeunes doués, offrent néanmoins des éclairages intéressants quant à cette dernière et peuvent contribuer à mieux les accompagner. / Over the last ten years, there has been increased awareness of the characteristics and educational needs of gifted students in Quebec. Because of the lack of empirical studies, very little is known about the perceptions and experience of gifted students regarding their schooling and how to support them to achieve their full potential at school. This research aims to better understand how gifted students view their schooling in Quebec, more specifically to: (1) describe how gifted students experience school, and (2) better understand what positively and negatively impact their experience. This is an interpretive descriptive research based on open-ended interviews with eight teenagers, aged between 12 and 18, who previously tested for giftedness and spent several years in the Quebec education system. Results show that their schooling experience is made up of nine dimensions: (1) relationship with teachers, (2) peer-to-peer relationship, (3) academic results, (4) school problems, (5) associated disorders, (6) flexibility and adaptation measures, (7) personal skills, (8) enriched academic programs, and (9) student mobility. Factors positively impacting gifted students’ views on schooling include giftedness testing, adaptation measures, medication for associated disorders, teachers’ perception and support, enriched academic programs and the level of involvement of students in school. Conversely, factors negatively impacting gifted students’ views on schooling include close-mindedness, negative perception from peers and teachers, boredom, repetition and isolation. Findings from this research are far from enough to gain a broad understanding of gifted students but still offer interesting insights into the reality of Quebec gifted students and on what can be done to support the growth and development of gifted children.

The present thesis examines Homer's description of the Shield of Achilleus and Minoan miniature frescoes, particularly the Sacred Grove and Dance Fresco and Grandstand Fresco. It uses them as examples to explore the transmission of ideas between cultures - the intensely visual Minoan civilisation of the Bronze Age centred on Crete and the earliest cultural strata of ancient Greece - that preferred different means of representation, painting, and poetry. Because Minoan fresco painting was essentially non-narrative and not accompanied by readable written records, so that "deciphering" its iconography is not an option, the thesis argues that we can learn about general cultural perceptions from interpreting and analysing how techniques of representation in painting and poetry treat the representation of time and space. From the relationship that these techniques establish with the beholders of the representation, we can infer their self-understanding. If the world appears to us as an intricate complex of cultural representations, the way we interact with them reflects our sense of our human place in the world. The non-narrative techniques of Minoan frescoes - particularly the use of vertical perspective, the absence of a fixed point of view, suppressed focalisation, and map-like composition - are shown...

En tant que phénomène divisé entre technique et esthétique, le mouvement de caméra s’avère parfois difficile à analyser. Comme le remarque Vivian Sobchack (1982, 317), le vocabulaire typiquement utilisé pour aborder les mouvements de caméra nous renvoie à leur processus de création et n’est pas suffisant pour rendre compte de l’expérience que nous en avons lors du visionnement d’un film. Le projet de cette thèse est d’aborder les mouvements de caméra du point de vue des rapports qui se tissent entre la caméra, le corps et l’espace, et ce, à la fois au moment de la production d’un film et dans le cadre de l’expérience spectatorielle. Un phénomène particulier guide notre étude, soit ce que nous appelons l’ « image exo- centrique ». Celle-ci propose une organisation unique du triptyque corps-caméra-espace qui se décline en trois mouvements : 1) la caméra est fixée au corps qu’elle filme, 2) elle est portée à une certaine distance du corps (devant ou derrière) et 3) elle est retournée sur le corps qui la porte. Notre étude suit ces trois mouvements en se focalisant sur trois paradigmes : la proximité, l’affranchissement, la réflexion. Pour mener à bien ce projet, cette thèse s’inspire de l’approche phénoménologique en proposant des descriptions des mouvements de caméra qui sont fondées sur l’apparence du phénomène à l’écran, une méthode qui nous permet d’écarter les préconceptions typiquement liées au vocabulaire traditionnel des études cinématographiques. Plus spécifiquement, c’est à la postphénoménologie de Don Ihde et à l’étude phénoménologique du cinéma de Vivian Sobchack que nous faisons appel afin d’interroger l’influence de la machine dans notre expérience du monde, ainsi qu’afin de reconnaître les particularités de l’expérience cinématographique. À travers la figure de l’image exo-centrique, cette thèse propose de nouvelles interprétations des mouvements de caméra en remettant en question les rapports corps-caméra- espace à travers l’histoire des techniques de prise de vues. / As a phenomenon that is as much technical as it is formal, camera movement can pose problems to those wishing to analyze it. As Vivian Sobchack (1982, 317) put it, the vocabulary typically used to describe camera movement refers back to filmmaking techniques and is not sufficient to describe the experience of camera movement as seen on screen. The goal of this dissertation is to approach camera movement from the point of view of the relations between bodies, cameras, and spaces, that is, both at the time of filming and in the context of the film viewing experience. One key example of camera movement guides this project, namely what we call “exo- centric images.” This phenomenon derives from a unique arrangement or the body-camera-space triad that is divided into three steps: 1) the camera is linked to the body which it films, 2) it is carried with, but away from, the body (in front or behind), and 3) it is flipped back onto the body that carries it. Building from these three “movements,” this dissertation focusses on three paradigmatic body-camera-space relations: proximity, emancipation, reflection. To accomplish its goal, this dissertation builds from phenomenology by proposing descriptions of camera movements that are based solely on the appearance of the phenomenon perceived on screen, a method that allows us to be free from the preconceptions tied to the vocabulary typically used in film studies. More specifically, we call upon Don Ihde’s postphenomenology as well as Vivian Sobchack’s film phenomenology as a way to question the intermediary role of a machine in our experience of the world, as well as to recognize the specificities of the film viewing experience. Through the exo-centric image, this dissertation puts forward new ways of interpreting camera movement by interrogating the relations between bodies, cameras and spaces throughout the history of filmmaking techniques.

This thesis deals with the eye gaze tracking and determining the direction and the place of the view. The overview of methods for determining the view direction is provided here. The direct 3D gaze estimation technique is proposed and implemented. The eye gaze can be estimated by using a single camera and under nature head movement. This paper describes the algorithms for the image processing and the image description. The center of the pupil is determined by the genetic algorithm for the ellipse detection. The procedures of the instrumentation calibration are proposed here as well. The work also addresses the issue of the determining the eye location. Finally, the comparison of the accuracy with similar projects is mentioned in my thesis.

Die term speurverhaal impliseer ’n spesifieke soort verhaal of genre, tradisioneel triviaalliteratuur of ontspanningslektuur, met spesifieke kodes en konvensies. Enige konvensies is egter aanpasbaar en die grense tussen hoë kuns en populêre kultuur is vloeibaar, sodat dit moontlik is dat daar wel ʼn vertakking of subgenre wat die literêre speurverhaal genoem kan word, kon ontwikkel het. Die doel van hierdie verhandeling is om die volgende navorsingsvrae te beantwoord: Is daar wel speurverhale wat as literêre speurverhale gekategoriseer kan word? Indien nie, waarom word die kodes van die speurverhaal as narratiewe strategie gekies vir sekere romans? Wat is die verskille en ooreenkomste tussen die tradisionele speurverhaal en die sogenaamde literêre speurverhaal? Die verskynsel word ondersoek word deur twee romans wat moontlik as literêre speurverhale geklassifiseer kan word, nl. Een vir Azazel (Leroux, 1984) en Die boek van toeval en toeverlaat (Winterbach, 2006), te vergelyk met twee tradisionele speurverhale, nl. Reuk van die dood (Mouton, 2008) en Plaasmoord (Brynard, 2009), aan die hand van sekere struktuurelemente, nl. spanningslyn, plot, intrige, karakterisering, verteller, vertellersperspektief, tyd, en ruimte. ENGLISH : The term detective story indicates a specific kind of story or genre, traditionally recreational and light reading, with specific codes and conventions. However, any set of conventions are pliable and the boundaries between recreational and high art are fluid and constantly shifting. It is therefore possible that a subgenre of the detective story that can be called the literary detective story could have developed. The goal of this dissertation is to answer the following research questions: Are there detective stories that can be categorised as literary detective stories? If not, why is the detective element chosen as a narrative strategy for some novels? What are the differences and similarities between the traditional detective story and the so called literary detective novel? / Dissertation (MA)--University of Pretoria, 2010. / Afrikaans / unrestricted

Music videos invite the viewer to an enhanced experience of a song, and by combining it with360°, a new dimension of immersion emerges. However, a new wave of complex narrativeand user interface unfolds when intertwining 360° and the contemporary way of telling storiesin music videos.This thesis used an experimental mixed method research design, focusing on collecting,analyzing, and mixing both quantitative and qualitative data in a series of studies. A surveywas first conducted to get an overview of consensus with respect to music videos, VR, and360°. The majority of the respondents had tried VR and 40% of stated that they felt immersedwhile trying it. Around 18% argued it was experience-dependent and 42% did not feelimmersed at all. The survey was followed by experiments showing two 360° music videoswith different storytelling techniques. After the participants had seen the videos, theydiscussed the experience in focus groups in a semi-structured interview. The results were thencoded and benchmarked with theory, which led to the rise of six key 360° storytellingguidelines.All three focus groups concluded 360° music videos enable a deeper level of immersion.However, when combining novelty and a sometimes overwhelming visual experience, 360°music videos can distract the audience if not told right. The guidelines discuss the purpose ofa music video, how the technology affects the experience, if the medium is passive or active,and how different types of interaction can be used as a storytelling mean. They also discussways to pedagogically intertwine audio and visuals. Additionally, the guidelines includediscussions of how different cues and POV’s can be utilized to ensure that the filmmakers andviewers experiences are somewhat aligned, they also tackle the fear of missing out, andfinally compare 360° and traditional music videos.Conclusively, the research shows that storytelling in a 360° sphere will entail a journey oftrial and error, and that the audience have scattered preferences of what different narrativestyles they find work and do not.

Narrative point of view should be the initial place of focus in the study of prose fiction, but it is often difficult to understand or teach. This study proposes that stage or screen production of narrative fiction may be purposefully structured to enhance the understanding of narrative perspective. The study details grammatical analysis of narrative language and describes implications drawn from that language which influence production decisions. The thesis examines the techniques and technology of stage and screen production which may be manipulated to underscore narrative point of view, suggesting ways in which each medium can borrow from the techniques of the other for point of view production.

New product innovations are necessary to attract consumers for companies to survive in the market in the long term in our fast-moving world. One way to gain access to such new creative solutions is through online communities whose members exchange ideas on virtual platforms (Antikainen & Väätäjä, 2010). This explorative research paper investigates the motivational reasons of users who engage themselves on innovation platforms. The aim is to provide practice-oriented design recommendations to support community managers in establishing or improving innovation communities in companies. The improved conditions have a positive influence on the creativity of individual users and thus contribute to the increased innovative power of the entire online community. The study focuses on LEGO Ideas as an example of an online innovation community with members from all over the world. Within the community LEGO models are designed, discussed, re-designed and finally rated by enthusiasts. The best-rated models are then produced as innovative products. The designers of the models receive a share of the sales revenues. The article specifically addresses the following research question: What key factors motivate online community innovators’ engagement? [Aus: Introduction]

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